Thursday, October 26, 2017

In this article, game writer Sande Chen discusses the necessity of interesting choices in the realm of romance.

In the book,How Games Move Us: Emotion By Design, by Professor Katherine Isbister, discusses the dating sim Love Plusat length as an example of emotional design with non-playing characters (NPCs). Love Plus traces the journey of a budding romance, but unlike in real life, there's no fear of actual rejection. The player will always end up "loved" because the NPCs, even when snippy, are always in love with the player. As in romance novels, lovers rejoice after many trials and tribulations.

The player has a choice of 3 different girls, who will react differently
according to their personalities. During the initial phase, the Friend
Zone, there may even be Jealousy Events as 2 girls discover they both
share affection for the same person, the player.

Alas, this brings us to that popular conflict in the realm of romance, the love triangle.

Within the mindset of "a series of interesting choices," we wouldn't want each potential lover to be the same. We want a fulfilling love but not the same one. Each branch of the narrative should lead to love, but because of who we are and our personalities, the journey is not the same. I wrote about this relationship distinction in Interchangeable He And She when discussing a hypothetical change to replace all female pronouns with male ones to include a gay romance option. If the story doesn't lead to love, then it's a tragedy, but one that should be brought forth by clear decisions driven by character traits.

Otherwise, the ending feels forced. The author hadn't taken the care to find a logical means for breaking up the love triangle without making someone act out of character or become a sudden, unmotivated asshole. In the world of linear storytelling, I feel cheated out of a good story when the prince who had been such a caring and devoted childhood friend suddenly becomes a backstabbing fiend so that the girl can fall in love with that other guy in the last 10 pages of the novel.

I find the most interesting love stories are when I'm not sure where the
story will go. Both potential lovers are good choices and therefore,
it's a very hard choice for the protagonist. I'd be equally happy with either choice as long as
it's understandable.

That's often the problem with OTP (One True Pairing) stories. There may be a love triangle, but there's no comparison to the OTP. The other person is such a bad, bad choice that who in their right mind would prefer that person? We start to wonder what's wrong with the protagonist that he or she can't see the obvious. By recasting the protagonist as player, it's easier to see that we would want each potential love affair to be a serious potential love affair.

Sande Chen is a writer and game
designer whose work has spanned 10 years in the industry. Her credits
include 1999 IGF winner Terminus, 2007 PC RPG of the Year The Witcher,
and Wizard 101. Sheis one of the founding members of the IGDA Game Design SIG.

Wednesday, October 11, 2017

In this article, game writer Sande Chen sums up advice from a 2017 NYCC panel about fantasy worldbuilding.

At last week's New York Comic Con, top comics writers dispensed cautionary fantasy worldbuilding tips during the panel, Wizards and Fairies and Spells - Oh My! After recommending beginners read over dungeon master manuals, writers Kel MacDonald, Brian Schirmer, Dani Colman, Si Spurrier, Sebastian Girner, and Skottie Young proceeded to explain some of the pitfalls awaiting new fantasy writers.

Primarily, several panelists expressed the opinion that worldbuilding shouldn't take precedence over story, or any other activity. Worldbuilding should not become a full-time job. It's far too easy for beginning fantasy writers to get caught up with the process of worldbuilding and end up with a beautifully realized world without a story. In fact, the world can enrich the story, and even become an externalization of a character's emotional life.

Next, the panelists discussed magic and magic systems, and urged writers to think about the cost of magic, as I do in my class, Writing for Sci-Fi, Fantasy, & Horror Game Worlds. If magic didn't have a price or penalty, then what's to stop people from using magic all the time? One panelist talked about the Harry Potter universe having 2 magic systems, one without cost and one with cost.

Finally, writers were asked to think carefully about the choice of POV character. If Gandalf had been the POV character in The Lord of the Rings, then the story would be very different. The reader would miss out on the feeling of wonder in regards to magic because Gandalf, as a wizard, would know all about the intricacies of the magic system.

Although this was a panel of comics writers, their advice applies to more than just comics writing. But if you're interested in learning what game writers might have to say about the topic, I along with Dalton Gray, Sharang Biswas, Jennifer Estaris, David Kuelz, and David Tiegen will be speaking on the game writing panel at GameACon Atlantic City on October 28. Hope to see you there.

A writer and game designer, Sande Chen has over 10 years experience
in the industry. She studied science fiction and science writing at MIT.
Her first published game was the epic space combat RPG, Terminus, which
won 2 awards at the 1999 Independent Games Festival. She was later
nominated for a 2007 Writers Guild of America award in Videogame Writing
for the dark fantasy RPG, The Witcher.

The popular Game Writing Portfolio Workout, which had been on hold during the longer 4-week Game Writing Primer course, returns on Tuesday, October 10. I haven't done this workshop since June of this year. If you
want to see what the life of a free-lance game writer is like, come to
this workshop for a deep dive into typical game writing tasks. You'll be
writing continually, so be sure to bring a laptop or notepad.